Category: Ülemajalised uudised

In a thrilling announcement today, the Estonian Academy of Music and Theatre unveiled the lineup of guest artists for its international master’s program in Contemporary Physical Performance Making (CPPM) for 2025–2027.

Renowned figures from across the globe are set to grace Estonia’s shores over the next two years, bringing their expertise to engage with master’s students in contemporary performance-making. The impressive list includes:

• Marina Abramović (Serbia)
• Anne Bogart (United States)
• Wim Vanderkeybus | Ultima Vez (Belgium)
• Maxin Doyle | Punchdrunk (United Kingdom)
• Ivo Dimchev (Bulgaria)
• Guillermo Gomez-Pena | La Pocha Nostra (United States)
• Balitronica Gomez | La Pocha Nostra (United States)
• Grzegorz Bral | Song of the Goat (Poland)
• Hannes Langolf | DV8 Physical Theatre (Germany)
• Eddie Martinez | Tanztheater Wuppertal Pina Bausch (Germany)
• Akram Khan Company (United Kingdom)
• Young Boy Dancing Group (international)
• Marco Donnarumma (Italy)
• Julian Boal | Escola de Teatro Popular (Brazil)
• Guillaume Pige | Theatre Re (United Kingdom)
• Ivana Jozic | Troubleyn (Belgium)
• Maria Kolegova | Ultima Vez (Belgium)
• Stacy Makishi (Hawaii)
• Ephia Djalma (France)
• Gey Pin Ang (Singapore)
• Henry McGrath (United Kingdom)
• Peader Kirk (United Kingdom)
• Mart Kangro (Estonia)
• Physical Lab (United Kingdom)
• Gecko (United Kingdom)
• Mirko Rajas (Estonia)
• Taavi Tõnisson (Estonia)

You can find out more about CPPM guest artists here.

The CPPM curriculum, rooted in the belief that the most significant artistic growth stems from collaboration with inspiring minds, promises an immersive experience. Students will learn alongside leading practitioners and engage in cutting-edge practices reshaping the performing arts landscape.

You can find more information about the application process here.

We offer two online information sessions for prospective students on May 5th and June 25th. These sessions give prospective applicants insights into the application and audition process, curriculum details, and more. Former and current CPPM students will also be on hand to share their experiences. To participate, please register for your preferred session(s) using the provided link.

Applications for CPPM are open until July 1, 2024.

Studies commence on January 20th, 2025.

As part of the international contemporary performance festival CPPM Manifestal, a performance titled “Buy Me” by DongBin Lee is set to premiere this Friday, offering a provocative exploration into the commodification of humanity in a futuristic dystopia. Scheduled performances will take place on the 29th, 30th, and 31st of March and on the 1st of April, all starting at 19:00 in the EMTA black box, with an artist talk following the March 31st show.

Joining Lee are co-creator and performer Javier Cárcel Hidalgo-Saavedra (SPA), scenographer Madlen Hirtentreu (EST), lighting designer Priidu Adlas (EST), and sound designer About It (KOR). Produced by CPPM Manifestal and the Estonian Academy of Music and Theatre, with support from the Estonian Cultural Endowment, “Buy Me” promises to be a thought-provoking exploration of humanity’s evolution in the face of relentless commodification.

DongBin Lee (1988), a traditional Korean artist residing in Tallinn, Estonia, is the creative force behind “Buy Me” as it is his graduation project from the MA in Contemporary Physical Performance Making (CPPM) course at the Estonian Academy of Music and Theatre. Lee’s work spans the realms of directorship, acting, and creation within the performative arts. Graduating from Chung-Ang University’s Department of Traditional Arts with a major in performing arts, Lee inherited the Bongsan mask dance, a crucial intangible cultural asset of Korean traditional art recently declared a UNESCO intangible heritage of humanity.

His artistic journey encompasses the exploration of theatre, art, and traditional dance, leading him to collaborate with diverse talents in Korea and Europe, garnering acclaim for his works. Recognized as an emerging traditional artist by the Namsan Gugak Center’s art support project in Seoul in 2020 and selected as an emerging artist in performing arts by the Korea Culture and Arts Committee in 2021, Lee’s dedication to his craft is evident.

“Buy Me” reflects Lee’s commitment to creating performances that resonate with audiences on multiple levels, emphasizing expressive abilities and the nuances of body and movement. His profound curiosity about human existence fuels his artistic exploration, delving into the intricacies of individual, social, and communal dynamics.

The CPPM Manifestal is a bespoke performance festival, created with the sole purpose of providing a platform for CPPM students to present their original works to a wide, international audience. Students have total creative freedom to choose who, where, and what form these final projects will take – works have ranged from large scale dance to intimate one-on-one experiences, promenade to immersive, from virtual to aural.

The festival’s program is international, showcasing in 2024 the work of 14 emerging artists from 11 different countries: Jennifer Bagg (Australia), DongBin Lee (South Korea), Rebecca Green (United States), Amy Reade (England), Javier Cárcel Hidalgo-Saavedra (Spain), Katia Skylar (Finland), Misia Żurek (Poland), Rasmus Jensen (Denmark), Sofia Filippou (Greece), Kymbali Williams (Estonia/Ghana/UK), Britt Kõrsmaa, Elo Tuule Järv, Kirte Jõesaar, Kreete Tarmo (all from Estonia). All projects are created specifically for the festival, presenting 14 new productions during the festival.

While the Estonian Academy of Music and Theatre takes the lead in organizing the festival, it is carried out in collaboration with numerous partners, including venues such as Von Krahl Theatre, Kanuti Gildi SAAL, Viimsi Artium, Vene teater, and more. Additionally, undiscovered venues like the ruins of Ungru Castle, Kiviõli ash mountains, Pirita TOP pool, Tallinn urban space, and various pop-up galleries will host performances. This year, CPPM Manifestal also features smaller sub-festivals, such as “Next Stop”, curated by Von Krahl, focusing on the relationship between the individual and society.

The first CPPM Manifestal took place in 2021, featuring noteworthy productions like Liisa Saaremäel’s “Tiny Home Productions Presents: Bigger Than Life” (in collaboration with ULM), which won the 2022 theatre award in the performing arts category. Keithy Kuuspu’s “False Falling” (in collaboration with STL) earned her the Crystal Slipper award and a nomination for the best dance production. Paolo Panizza’s production “Por Toi” reached the finals in the young directors’ category at the 2022 Venice Theatre Biennale.

The festival will take place from March 13 to June 17, 2024. The program will be continuously updated!

For more information: www.manifestal.ee

Tickets are available at Piletikeskus.

Today marks the commencement of the CPPM Manifestal, an international contemporary performance festival organized by the Estonian Academy of Music and Theatre. The festival debuts with the premiere of Australian performance artist Jennifer Bagg’s work titled “Ball is Life.” Author-director Jennifer Bagg (AUS), sound designer Jürgen Reismaa (Von Krahl), lighting designer Rommi Ruttas (EST), scenographers Ere Kama and Kadri Joala (Estonian Academy of Art), performers Elo Järv (EST), Katia Skylar (RUS/FIN), Erko Sild (EST), Edward Skaines (AUS). “Ball is Life” is co-produced with Theatre Von Krahl, supported by Estonian Cultural Endowment. 

After two years of rigorous training under the guidance of globally renowned artists, the MA in Contemporary Physical Performance Making (CPPM) students are ready to make their mark on the international stage, presenting their projects to audiences, curators, and producers in Estonia and beyond. This spring signifies the festival’s second edition, unveiling the final projects of the CPPM students.

The festival’s program is diverse, showcasing the creations of 14 emerging artists from 11 different countries: Jennifer Bagg (Australia), DongBin Lee (South Korea), Rebecca Green (United States), Amy Reade (England), Javier Cárcel Hidalgo-Saavedra (Spain), Katia Skylar (Finland), Misia Żurek (Poland), Rasmus Jensen (Denmark), Sofia Filippou (Greece), Kymbali Williams (Ghana/England/Estonia), Britt Kõrsmaa, Elo Järv, Kirte Jõesaar, Kreete Tarmo (all from Estonia). All projects are specifically crafted for the festival, presenting 14 new productions during the event. Students collaborate actively with professionals from the Estonian performance scene, collaborators from their home countries, and international guest artists. These collaborators serve as performers, designers, mentors, and dramaturgs, contributing to a rich, multicultural tapestry of performance.

While the Estonian Academy of Music and Theatre takes the lead in organizing the festival, it collaborates with various partners, including venues such as Von Krahl Theatre, Kanuti Gildi SAAL, Viimsi Artium, Vene teater, and more. In addition, unconventional venues like the ruins of Ungru Castle, Kiviõli ash mountains, Pirita TOP pool, Tallinn urban space, and various pop-up galleries will host performances. This year, CPPM Manifestal also includes smaller sub-festivals, such as “Next Stop,” curated by Von Krahl, focusing on the relationship between the individual and society.

The inaugural CPPM Manifestal took place in 2021, featuring notable productions like Liisa Saaremäel “Tiny Home Productions Presents: Bigger Than Life” (in collaboration with ULM), which won the 2022 theatre award in the performing arts category. Keithy Kuuspu “False Falling” (in collaboration with STL) earned her the Crystal Slipper award and a nomination for the best dance production.

The festival will run from March 13 to June 17, 2024. The program will be continually updated.

In a bid to attract exceptional talent, the Estonian Academy of Music and Theatre (EAMT) has unveiled a remarkable opportunity for prospective students enrolling in the Contemporary Physical Performance Making (CPPM) course. EAMT is pleased to announce the availability of eight partial tuition fee waivers, aiming to ease the financial journey of aspiring students.

These scholarships are structured into two tiers: four scholarships that generously provide a 50% reduction on the full tuition fee and an additional four that offer a 25% reduction. The direct application of these scholarships serves to alleviate the financial burden on students, with the reduction (25% or 50%) subtracted from the total tuition fee for the academic year.

For example, EU applicants with a full tuition fee of €7000 will witness a reduced fee of €5250 with a 25% scholarship and a further decrease to €3500 with a 50% scholarship per academic year. Similarly, non-EU applicants with a full tuition fee of €13000 will experience reductions to €9750 and €6500, respectively.

The allocation of these scholarships for the first academic year is contingent upon audition outcomes, with four candidates set to receive a 50% discount and another four benefiting from a 25% discount. Each scholarship remains valid for one academic year.

In the subsequent academic year, all CPPM students will have the opportunity to vie for eight similar scholarships based on academic performance, artistic dedication, and overall course contribution, as determined by the CPPM course committee.

Additionally, EAMT extends its support to CPPM students by offering a result-based scholarship. The student with the highest academic performance each term is awarded 100 euros per month, a recognition of their dedication and excellence. This scholarship is granted at the beginning of each term, acknowledging academic achievements from the preceding term.

Prospective candidates and current students eager to explore these scholarship opportunities can find comprehensive details on CPPM Course Detail page.

Today, on the 1st of March, the Estonian Academy of Music and Theatre (EAMT) has commenced accepting applications for its MA in Contemporary Physical Performance Making programme (CPPM). Applications are welcome until the 1st of July 2024. In 2024, the course admits 16–18 students and the studies will commence on the 20th of January 2025, with studies spanning two years.

“We’re admitting students for the third time and remain committed to finding the most talented and diverse performance artists worldwide to come to Estonia for studies – all to curate an exceptional course enriching the Estonian performing arts landscape,” stated Jüri Nael, the leading professor of contemporary performance at EMTA.

“In 2024, we aim to bring auditions closer to you, ensuring that everyone can attend without the need to travel to the other side of the world. That’s why we’re offering global face-to-face and online auditions this year. While face-to-face auditions are preferred, as they allow us to meet and spend some time together in the studio, we accept online auditions as an equally valid alternative. We hope this ensures greater flexibility and accessibility for applicants, regardless of their location”, added Nael.

Face-to-face auditions take place in Seoul (South Korea), Melbourne (Australia), Sao Paolo (Brazil), New York (United States), London (UK) and Tallinn (Estonia). In addition, we offer three online auditions that take place in different time zones: Asia (GMT+10), the Americas (GMT-7), and Europe (GMT+1).

CPPM programme is founded on the belief that encounters with inspiring artists and the opportunity to closely and honestly experience their creative process are the primary catalysts for the development of young performance artists. The coursework is delivered through intensive masterclasses by internationally acclaimed directors, choreographers, performers, and troupes from around the globe. Recent guest artists include Olivier de Sagazan (FRA), Hannes Langolf (DV8 Physical Theatre), Eddie Martinez (Tanztheater Wuppertal Pina Bauch), Rob Hayden (Ultima Vez), Guillermo Gomez-Pena (La Pochanostra), Grzegorz Bral (Song of the Goat), Amit Lahav (Gecko), Marilena Dara (Jasmin Vardimon Company), Kim Collier (Electric Company Theatre), Young Boy Dancing Group and many others.

Instruction is conducted in English.

To qualify for the program, candidates should hold an undergraduate degree, ideally in a field related to performing arts such as theatre, acting, dance, choreography, circus, performance art or performance making. Nonetheless, applicants with degrees in other areas may also be eligible if they can present a significant portfolio highlighting their prior artistic practice and experience. While candidates with several years of professional experience in the performing arts are preferred, this is not a mandatory criterion for application.

Established in 2019, CPPM saw its first cohort graduate in the spring of 2021, comprising 12 students from 8 countries. The second cohort, with 14 students from 11 countries, is set to graduate this spring as part of the international contemporary performance festival, CPPM MANIFESTAL’24, running from March 12th to June 17th, featuring 14 new productions totalling over 60 performances.

All information about the course, including entry requirements, can be found on the CPPM website at www.mastersincppm.com

The website offers abundant visual and video material regarding past CPPM projects and activities.

The eagerly awaited CPPM Manifestal has been announced, beckoning the talented CPPM master’s students of the Estonian Academy of Music and Theatre. Following two years of intensive learning under the guidance of world-renowned artists, these young makers are poised to step onto the international stage, presenting their creations to audiences, curators, and producers in Estonia and globally. This spring marks the festival’s second edition, unveiling the final projects of the Estonian Academy of Music and Theatre’s international MA in Contemporary Physical Performance Making (CPPM).

Professor Jüri Nael, the head of CPPM at the Estonian Academy of Music and Theatre, sheds light on the festival’s background: “CPPM Manifestal spans three months – from mid-March to mid-June. In addition to 60 performances, the event features various workshops, lectures, audio journeys, discussions, and conversations on performing arts. Each premiere is followed by a discussion with the artist to delve deeper into the processes, backgrounds, and sources of inspiration behind the production. All these events create a vibrant and exciting festival atmosphere that significantly enriches the landscape of Estonian performing arts.”

The festival’s program is international, showcasing the work of 14 emerging artists from 11 different countries: Jennifer Bagg (Australia), DongBin Lee (South Korea), Rebecca Green (United States), Amy Reade (England), Javier Cárcel Hidalgo-Saavedra (Spain), Katia Skylar (Finland), Misia Żurek (Poland), Rasmus Jensen (Denmark), Sofia Filippou (Greece), Kymbali Williams (Ghana/England/Estonia), Britt Kõrsmaa, Elo Tuule Järv, Kirte Jõesaar, Kreete Tarmo (all from Estonia). All projects are created specifically for the festival, presenting 14 new productions during the event.

While the Estonian Academy of Music and Theatre takes the lead in organizing the festival, it is carried out in collaboration with numerous partners, including venues such as JAIK, Von Krahl Theatre, Kanuti Gildi SAAL, Viimsi Artium, Vene teater, and more. Additionally, undiscovered venues like the ruins of Ungru Castle, Kiviõli ash mountains, Pirita TOP pool, Tallinn urban space, and various pop-up galleries will host performances. This year, CPPM Manifestal also features smaller sub-festivals, such as “Next Stop”, curated by Von Krahl, focusing on the relationship between the individual and society.

The first CPPM Manifestal took place in 2021, featuring noteworthy productions like Liisa Saaremäel’s “Tiny Home Productions Presents: Bigger Than Life” (in collaboration with ULM), which won the 2022 theatre award in the performing arts category. Keithy Kuuspu’s “False Falling” (in collaboration with STL) earned her the Crystal Slipper award and a nomination for the best dance production. Paolo Panizza’s production “Por Toi” reached the finals in the young directors’ category at the 2022 Venice Theatre Biennale.

The festival will take place from March 13 to June 17, 2024. The program will be continuously updated!

For more information: www.manifestal.ee

Tickets are available at Piletikeskus.

This week, CPPM is thrilled to present a one-week intensive workshop conducted by Külli Roosna from Estonia and Kenneth Flak from Norway. Acclaimed for their pioneering integration of dance, digital art, and technology, Roosna and Flak are set to share their distinct Responsive Body movement technique with CPPM students. The workshop concludes with an open class this Friday, 22 December, at 18:00, in the EAMT black box. This event presents a rare chance for attendees to witness firsthand the innovative methods and artistic synergy that Roosna and Flak are renowned for.

The Responsive Body Workshop

The workshop centres around the Responsive Body practice, a unique methodology by Roosna and Flak. It amalgamates elements from functional anatomy, martial arts, and sensor technology. The workshop aims to cultivate an awareness of the body’s functional connections, starting with fundamental movement exercises. This initial stage is crucial for grounding participants in their physicality and preparing them for more intricate activities.

As the workshop advances, students will delve into diverse sensory experiences. They will develop their capacity to respond to a range of internal and external stimuli by engaging in both individual and partner exercises. This expands their movement vocabulary and improvisational prowess. A standout feature of the workshop is the integration of sensor technology, encouraging students to explore the nexus between bodily movement and sound. This avant-garde approach hones physical skills and fosters inventive thinking at the intersection of human motion and digital technology.

Külli Roosna

Born in 1981, Külli Roosna is a celebrated Estonian dancer, choreographer, and educator. She graduated in choreography/dance from Tallinn University, followed by a second bachelor’s degree from Rotterdam Dance Academy. She also holds an MA in choreography from Tallinn University. Roosna’s extensive career spans collaborations with eminent choreographers and performances worldwide. Her solo performance “Circle Through” received top honours at the International Festival of Modern Choreography in Vitebsk, Belarus. She has also played a significant role in the Estonian Dance Artist Union, both as a board member and head of its Stipendium commission.

Kenneth Flak

Born in 1975, Kenneth Flak is a versatile Norwegian artist who excelled as a dancer, choreographer, composer, and educator. He trained at the National Academy of Dramatic Arts in Norway and the Amsterdam Arts School in the Netherlands. His accolades include a Bessie Performer’s Award for his role in André Gingras’ solo CYP17 and a nomination for the BNG Award in Amsterdam for his choreography “Of Gods and Driftwood.” As a self-taught composer and creative coder, Flak specialises in crafting music and interactive tools for live choreographies and dance films. He also led the Norwegian Arts Council Commission for Dance from 2018 to 2020.

The intensive workshop at CPPM is poised to be a transformative and enlightening experience for the students, offering a rare chance to engage with two of the foremost innovators in contemporary dance and digital artistry.

This week, we are excited to host the esteemed artist Stacy Makishi, who will lead the much-anticipated “Killing Time” workshop exclusively for CPPM students.

Stacy Makishi, a dynamic and versatile artist from Hawaii, is renowned for her multi-form approach encompassing live art, film, visual art, and physical theatre. She has graced stages at prestigious venues like the Queen Elizabeth Hall, Royal Albert Hall, TATE Modern, and the San Francisco Museum of Modern Art. With over 30 years of experience as a facilitator, Stacy brings a unique blend of creativity and spontaneity to her workshops, engaging students in a transformative learning process.

This is not the first time CPPM students have had the opportunity to learn from Stacy. In 2019, she conducted a workshop for a previous cohort, which was met with resounding admiration and students and faculty eagerly anticipate her return to CPPM this year.

Killing Time Workshop

During the “Killing Time” workshop, Stacy will focus on encouraging students to:

• Move Faster Than Think: Instilling a sense of spontaneity in creation.
• Create Faster Than Critique: Emphasizing the importance of the creative process over self-judgment.
• Resist Resistance: Helping students to overcome creative obstacles.
• Pulverize Procrastination: Teaching strategies to maintain artistic momentum.

Stacy Makishi’s approach is not just about teaching art; it’s about unleashing the potential within each artist, challenging them to explore beyond their limits.

You can see the workshop results in an open class on Saturday, 9 December, at 19:00 at EAMT black box.

The Latvian Theatre Award ceremony, held at Dailes Theatre in Riga on Thursday, 23 November 2023, unfolded into an evening of theatrical splendour as “Malleus Maleficarum. The New Pact” took centre stage. Masterfully directed by CPPM alumna Iveta Pole, the production earned widespread acclaim, clinching the title of the year’s best and setting a new benchmark in big-scale physical performance.

Iveta Pole, an esteemed Latvian performance artist and actor, embarked on a transformative journey during her studies at the Estonian Academy of Music and Theatre’s CPPM program from 2019 to 2021. Here, Pole developed a deep interest in contemporary physical performance, leading to the inception of “Malleus Maleficarum”. Inspired by the theme of feminine energy and its often misunderstood dimensions, Pole envisioned a production that explored these complex dynamics.

Drawing from Heinrich Kramer’s medieval treatise “Malleus Maleficarum” or “The Witch’s Hammer”, Pole and her creative team sought to challenge and reinterpret the historical perception of women as inherently dangerous. The production delves into a pre-labelled era of feminine energy, questioning its role and potential in the past and future.

Pole describes the production as an emotional and heart-centred journey, emphasising the importance of approaching it beyond mere intellectual analysis. She highlights the natural flow and primal energy embodied in the show, likening it to being in the womb or a flowing river.

The cast, including CPPM alumni Martina Georgina from Malta and Lea Blau from Croatia, is part of this artistic exploration. Show participant Katrīna Neiburga reflects on the production’s uniqueness, focusing on feminine energy rather than women per se. Lea Blau, another participant, shares her experience of working in a predominantly female creative team, highlighting the dynamic and sometimes explosive energy this brought to the process.

Spectators and critics have praised the show for its courage, self-irony, and exploration of deep-seated themes. Theatre critic Tom Chever commends the play for addressing significant issues beyond gender. In contrast, Henrietta Verhoustynska, another critic, acknowledges the powerful sense of sisterhood and primal connection to the earth experienced during the performance.

“Malleus Maleficarum” is a testament to Iveta Pole’s visionary direction and the collaborative spirit fostered by the CPPM. This production marks a significant achievement in Latvian theatre and sets a high standard for future productions, inspiring artists and audiences with its innovative approach and exploration of deep-rooted themes.

Resources:

Baltics News. (2023, June 6). Witches and Feminine Energy in the Play “Malleus Maleficarum: The New Contract”. Baltics News. https://baltics.news/2023/06/06/witches-and-feminine-energy-in-the-play-malleus-maleficarum-the-new-contract/

Photo: Marshall Stay

Sasha Pepelyaev is a director and choreographer. His first steps in theatrical arts were made while still in secondary school, where he attended drama classes. while studying chemistry at Moscow University, he started learn pantomime and spent all his free time in the studio – learning, performing, improvising and directing. after graduating from university, he continued his theatrical career in the Taganka theatre and Moscow concert agency as a mime soloist.

in 1984, he became an artistic director at the mime studio of Moscow State University. the studio transformed into one of the first independent theatre studios in Moscow in 1987, during the beginning of perestroika. The company was called “poor yorik”. During this time, Sasha entered the State Institute of Theatrical Arts, where he studied drama for four years.

In 1990, after closing down the “poor yorik”, he worked successively as a director and choreographer in a circus, on TV, and in drama theatres in Moscow and abroad. in that period, he also visited Western Europe, took different dance classes in Amsterdam and participated in various theatre dance projects.
in 1994, he started the “The Kinetic Theater” project in Moscow, which led to the creation and performance of a string of experimental works. The project eventually became an intensive search focused on the definition of contemporary Russian dance. since the winter of 1995/96, the idea of combining postmodern Russian texts, contemporary dance and traditional Russian dramatic style continued in the company’s productions.

Workshop: The Third Eye

The workshop will focus on building a structure of visual-physical performance and methods that can be used. This will include initial concept, rough realisation, verification, modifications, analysis of available tools for those tasks, search for influences, affecting phases and patterns of the whole process. The creation of “sign” as a key element of visual communication and the importance of “code” as a collection of homogeneous “signs”, which implement content and desired statement (or meaning) of the performance will be observed and, in a positive scenario, realized. Objects and environments will be inspected as building elements of “code”. Themes for improvisations will be suggested to participants and later stay as the basis for dramatic structure (“story”). They will be mixed and transformed by choreographic patterns, including elements of dance, acrobatics, contact improvisation, etc. The core idea of the workshop is to vary the scope of tools available for creation and emphasise the visual content of stage production. A model of performance will be a goal, but not necessarily.